Month: August 2016

Reflection #4: Translating Observations for the First Time

Alaine Thompson on

Today in class we each spoke one of the observations we’d written. This was a great open discussion that enabled us all to not only see how we could develop and explore the act of writing observations themselves, but also how we could possibly translate the observations we’d already written into film.

Through this discussion, as well as feedback from Robin, I realised that my own observations were too centralised on myself, on my own experience, feelings, morals and attitudes and this then limited my observations and interactions with the world, as I was unable to observe past my own inner experiences, when the act of observation itself innately requires to externally observe, to be outside ones self. Robin also ha an idea as to how to approach this process, in order to help distance ones self from the act of writing observations in response to a question from Penelope. He said that it may help to act as though you weren’t there The act of re-describing details for the reader may help you to re-discover details yourself. I hope to put this ‘system’ into practice soon and dive deeper into the act of observing outwardly, as opposed to observing inwardly.

We also discussed how these observations would translate into films:

We thought that many could be a straight re-enactment. As the moment itself had a great deal of power behind it already, it had an enigma about it, after all you chose to observe it in the first place.

Others were stronger as ideas or base concepts, to build upon and shape. Find the kernel and develop it. It can be a small idea or concept that intrigues you, the intriguing enigma that brought you to observe the moment in the first place, that drives you in a new direction to develop an entirely new story and plot, acting more as an inspiration to delve deep into, and develop upon a new concept and idea.

We also watched excerpts from a film called ‘From the East’, a film that mixes actuality and contrived construction in observational documentary form. More than anything though, to me, this film emphasised the haunting nature of simply observing something. Of letting the act speak for itself, letting the human mind fill in the gaps. It spoke volumes, volumes more than any dialogue ever could.

Reflection #3: Light Temperature, White Balance and Formal/Informal Interviews

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This week we learnt about formal and informal interviews. We also learnt about light temperatures and white balance and making lighting choices in line with the more formal set up of the formal interview, as well as the informal set up of the informal interview.

All cameras have two presets for white balance. White balance has to do with the light temperature. Outdoors averages to 5200 kelvin, whereas indoors averages to 3200 kelvin. The Sony EX3 has two presets, one for each, as well as a manual white balance. It is usually set to 3200 kelvin automatically as the standard setting. This is where the manual white balance comes in handy, because it always ensures that the camera’s settings are set to the proper light temperature for the environment. 

Knowing about colour temperatures and correctly white balancing makes lighting choices much easier. This is where the interviews come in. Interviews are all about the correct lighting of a subject. This means ensuring that the most exposed areas of a person’s face are only exposed 70% (this person being on the paler end of the skin colour spectrum). Formal interviews control every element in the frame, including lighting, set design/dressing, and framing. Even an informal interview will still control some of these aspects to a degree, less through redesigning the situation and more through observing and crafting the situation to their creative advantage, taking the time to find the right angles to observe from, creating a greater and more personal context in the moment.

Interviews themselves are very interesting as, depending on the way they are set up they can provide even more context and information about the individual, not only the environment in which you choose to film, but the way you choose to film; the lighting, composition, set design/dressing; it all says something, no matter how subtle, about your subject.

I declare that in submitting all work for this assessment I have read, understood and agree to the content and expectations of the assessment declaration.

Observation #8

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Jerry And The Towel

The other day, holly, in her old age urinated on the laundry floor. So we mopped it up with an old towel. We hung it out on the line on the side of the house to air out and hopefully get washed by the rain.

That night I let the dogs out before bed and when I let them back in, Jerry started to run around the side of the house. I called him back before he could go too far. And it happened again, and again, until I realised what was around the side of the house. Jerry was smelling Holly, or at least he thought he was smelling two Hollys at once. That smell was the way he identified her, it was half of his connection with her, smelling her and understanding her on a biological and physiological level. He was being fooled by his senses. Like so many of us. But to be so reliant on that sense that it constantly fools you?

Observation #7

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Salt and Pepper Man

The man in front of me has grey salt and pepper hair, so long that he has to tie it up into a tiny little pony tail at the back of his head. And yet there’s a giant bald spot in the center of his aging dome. He looks around him everywhere, as though trying to find the quickest way through the crowd, and then before he can get across the road, the traffic lights stop him dead in his tracks. He looks around him hastily, waiting for the traffic to heed his panic and relieve his stress, or at least relieve his spastic motions. As soon as the lights turn red, before the green man says to walk, he’s off. And I’m standing there, staring at this salt and pepper man rushing in the opposite direction while I stand there observing the screech mark he just left on the pavement, thinking how glad I am that I’m not quite addicted to using salt and pepper on all my food yet.

Observation #6

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Pseudo Reality

The TV binge. The digital age ‘s new addiction. This past weekend has been a blur of pseudo reality mashing with my own reality, but only within the shallow microcosm of my house and Facebook messenger. The line becomes so blurred that this space too blurs into pseudo reality status. Only getting up for basic necessities. A reality pit stop of sorts, never pulling you back to it, but sustaining you just enough so you don’t become a complete shell of yourself.

Every show builds a world for you to escape into. A world with its own reality, own rules. So similar to our own. You change the show on Netflix to an animation hoping it will be less realistic. It isn’t.

You finally find a distracting enough show. A comedy, perfect. You watch and watch until boom, end of b plot c plot and a plot. The niggling fear of reality seeping in, well seeps in. And you push that button as you always do, the button you turned off of auto play because you thought it would help stop this from happening. And you keep going until it’s past your feesible bed time because it’s Monday tomorrow. And even though you hate Mondays like Garfield, you also need to face them eventually